Updated. Porn comic Fucking Possible. Chapter 3. Kim Possible. JABComix. Hot babes in the Kim family just love to fuck. With their chic bodies, they seduce the guys in their family, after which they suck off them and let them fuck them well, getting great pleasure.
Are you ready for the holidays? As both the father of a young child and a guy who is about to officiate a wedding ceremony in the part of the South where they talk about God like, a lot, I can guarantee you I am not! However, The Comics Journal does have one tradition left before we disappear up our respective chimney: our annual look at the Year In Comics! After you've finished today's reading, please return on Monday to find out what the luminaries, malcontents and professionals thought 2018 had to say for itself. (The comics, at least!)
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The Comics Journal (est. 1976) is a magazine that covers the comics medium from an arts-first perspective, and one of the nation's most respected single-arts magazines, providing its readers with an eclectic mix of industry news, commentary, professional interviews and reviews of current work on a regular basis. TCJ.com is the daily online version of the magazine and is edited by Timothy Hodler and Dan Nadel.
Civil War is another creature entirely. A big part of that is these fuckin' guys, who made the best - that is to say, my favorite - Marvel movie previously. Age of Ultron made me think a movie like Civil War wouldn't even be possible. Did I ever talk about that? I don't remember if I did or not. I'm old.
BLUE BOOK is the first comic project that I am going to be serializing here on my Substack. I am writing it, Michael Avon Oeming is drawing it, Aditya Bidikar is lettering it, and Greg Lockard is editing it. BLUE BOOK is a non-fiction comic series. It is going to release in 10-page chapters, twice a month, usually about two weeks apart. The goal with BLUE BOOK is to take true accounts of UFO encounters and adapt them to the comic form, without sensationalizing or altering the course of events to suit our narrative.
I\u2019ve been pulling together a lot of resources to tell this story right, but the one that really inspired me from the start is THE INTERRUPTED JOURNEY by John G. Fuller. I got my hands on an ancient copy of the hardcover late last summer as I was working on the first UFO-centric issue of The Department of Truth, and reading about the details of the Hill Encounter it struck me over and over how much drama there was in it. I originally considered trying to adapt pieces of it in the issue of DOT, but I needed Men in Black stories for that series, and this wasn\u2019t one. But the idea nestled into the back of my mind that I wanted to adapt a UFO story into a non-fiction comic book.
I think the stories of UFO encounters have been tampered down over the last few decades in the public consciousness. They\u2019ve become too shaped by science fiction movies, and nailed down into something far more tangible than any real encounter ever is. The stories that people who believe they have encountered a UFO tell are deeply, deeply strange. And that real strangeness is always more compelling to me than the artificial strangeness that we see in fiction inspired by the events. And it\u2019s that essence, that strangeness that I want to try and capture and translate to the comic book page.
Beyond that, I think this is a type of comic that fits PERFECTLY on this platform, in this delivery system. As I outlined in my launch post, I shot off an email to Michael to see if he was available to work on this book hours after my first conversation with Substack. Not just because I thought that this is going to be a cool fucking project to work on with him, but because I thought this was the perfect platform to bring this idea to life.
When talking with my collaborators about my approach to doing comics on Substack, I keep bringing up podcasts. The idea of bite sized, fascinating content that will arrive on your chosen device a few times a month. I think, if we do our jobs right here on Substack, the core audience we have here is going to be functionally different and separate from the direct market comics audience. I think the direct market audience that has signed up on substack is going to see the chunks of comics that arrive in their emails as what they are\u2026 You\u2019re getting sneak peeks at a book mid-production, but the thing you REALLY value is the hard copy of the book you\u2019ll get in hand later next year. You\u2019ve signed up for the bragging rights of early access (and for fancy variant covers, if you signed up for the founder\u2019s tier). Which is great!
But I believe there is another audience that exists out there that is looking more for bite-sized comics in their inbox. I don\u2019t think they are looking for comics particularly, they are just looking for digestible bits of fascinating information, delivered in interesting ways, to get their brain cooking in between the other things they\u2019re doing that day. Just like a podcast does on your commute home from work. I don\u2019t think they are necessarily comic book people. I\u2019m not going to get anybody on that track to sign up for the Founder\u2019s Tier and those fancy covers. But there are people passively interested in comics, who I think will pay $7 a month to read comics about a subject that interests them. Not because they like comics, but because they like the subject.
One thing I believe wholeheartedly, and evangelically is that literally ANYBODY can read and enjoy comics. Another thing I believe wholeheartedly, with great frustration, is that not enough people are AWARE that literally anybody can read and enjoy comics.
We work in a niche medium, for niche audiences, and we do best when we are catering to niche audiences who aren\u2019t being served by mass market media. I think this is honestly one of the big reasons behind the decline of superhero comics as the dominant mode of the medium. The Superhero geek audience is being served amply by mass market media, so comics just get to pick up the scraps, rather than drive the conversation.
Ultimately, I\u2019d say a good half of what I\u2019m going to be doing in this space is going to live in that TRUE WEIRD arena. Because I think there\u2019s gold in them there hills, and I want to keep digging for it. I also am just deeply, deeply fascinated with the strange corners of the world, so ultimately if I\u2019m just a weirdo and I\u2019m making this book for a few other weirdos out there, I\u2019m satisfied. But I do think there\u2019s an audience waiting to be catered to, and frankly, I don\u2019t think the \u201CTrue Weird\u201D space is the only niche market worth chasing with comic books. It\u2019s just the one that speaks to me the most. I hope folks using this platform try and build the bridges from other subcultures to the weird and wonderful world of comic books\u2026
The three primary emotions we want to explore here are: Fear, Suspense, and Awe. The most incredible thing about this encounter is how there wasn\u2019t any real language for a UFO abduction before this case. All the tropes come from this, and they\u2019ll shape how people talk about abduction cases for the following sixty years. But at the moment it\u2019s happening to them, it\u2019s all completely strange and novel, and they don\u2019t have a language for it. That is deeply strange and frightening, and when they see the unearthly sights they are going to see, it should be overwhelming awe and terror. We want to feel that with them. We want the aliens to seem \u201Calien\u201D first and foremost, and we want to lean into the strangeness of it all\u2026 Obviously, this isn\u2019t The Department of Truth, so we don\u2019t need to lean into subjective reality or any of that, but there\u2019s an element of this which is them recounting things and explaining things that are dreamlike and impossible. We are doing our best to translate their recollections, but we are playing a game of telephone from a moment where two ordinary people bumped up against the extraordinary and were changed by it in profound ways.
I think the best how-to books about cartooning are just the books that contain the best cartooning. I learned the most about making comics from studying, copying, and then learning how to not copy from the work of my favorite cartoonists. But for whatever reason, the two instructional books from my childhood that remain clearest in my memory are How to Draw Comics the Marvel Way by Stan Lee and John Buscema and Drawing the Head & Figure by Jack Hamm.
Are you able (without fear of being picked off by the Substack snipers) to share your frank views about comic creators leaping onto this platform as the main means of distributing (initially digital) installments of their new graphic novels (together with bonus and BTS content) in return for a subscription fee (and of course the Substack grants)?
I'm primarily interested in your take from the professional published creator's POV, and secondarily I'd be keen to hear if you think this might be a way for new unpublished creators to get their work out there and be noticed, in the present saturated marketplace for free digital comics?
Q: Now that you\u2019re venturing into films and noticing that you\u2019re a film fan, I have a question. In film, emotions can be conveyed via camera movements, music, sound design, etc. Unfortunately that\u2019s not the case in comics, which is more static. How to convey character\u2019s emotions more easily and interestingly in comics by overcoming the limitations of the medium which are not there in film?
I think film and comics both have their limitations, and neither is inherently better for conveying characters\u2019 emotions. For a long time, I tried to resist a lot of the aspects of cartooning that I felt were too comic book-y, like sound effects, thought balloons, motion lines, etc., but they can be really useful tools, offering opportunities that film can\u2019t. And for the record, I think a static image can be incredibly powerful in terms of conveying emotion. 2ff7e9595c
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